In my opinion, 2017 was a fantastic, fascinating year for music. It was also home to a hectic, baby-having, sick-filled December, meaning that I’ve been short of time to do a proper job of this list.
So what follows is something of a brain dump, mainly compiled at 4am whilst feeding or winding a baby 1. So I’m afraid it’s light on wit and context, but does provide a decent overview of my listening this year, and should hopefully provoke the usual discussion.
Once upon a time there was a band called Slunt, who were billed as being a cross between AC/DC and L7. This was a massive oversell , and their album was very disappointing. Lower Slaughter, with their female-fronted blues metal, come much, much closer to that tantalising description. I do not know if they are named after the village in the Cotswolds, but I really hope so.
Caustic old school punk that fills the void left by the lacklustre Sleaford Mods album
For my money, their best record since ‘Black Love’ . The cathartic party tracks are present and correct but the best songs here are slow-burn growers which gradually worm their way into your psyche.
The Soul Assassin is back to remind us that he was making twisted gothic broken soul beats before there was a R2A. A genuine tour-de- force.
McAlmont & Butler, recorded live in Hell.
Come for the Blockhead / Aesop / Homeboy Sandman collabs, stay for the coming-of-age of a new hip-hop superstar
I’m genuinely surprised how much I like this , but it’s been a staple for most of the year.
Hip-hop concept albums are less common than the genres’ love for pretention would suggest. This record is mellifluous, important, and a rare positive voice in rap.
A fitting tribute to the great Miss Jones. Her final recordings, lovingly and luxuriously turned into what I believe will become regarded as her greatest album
In fact, with the exception of light proofreading/editing and the final Markdown conversion in Editorial, this post was composed entirely as described, on an iPad Pro using MyScript Nebo, and an Apple Pencil.↩